For ‘Life of Chuck,’ TIFF-to-Oscars journey could be a long march

If a movie inspires you to get up in the middle of a Koreatown steakhouse and do the robot with your waiter, isn’t that worthy of some kind of award, even if it’s not an Oscar?

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. Let’s talk about “The Life of Chuck,” the latest Stephen King adaptation, a film possessing the pedigree of an Oscar best picture contender.

Can ‘Chuck’ extend Toronto’s Oscar streak?

The last 12 movies to win the Toronto International Film Festival’s People’s Choice Award have gone on to earn an Oscar nomination for best picture. It’s a list that includes eventual Oscar winners like “12 Years a Slave,” “Green Book” and “Nomadland.” Two years ago, Cord Jefferson’s “American Fiction” premiered at Toronto and parlayed the momentum from its People’s Choice prize into an adapted screenplay victory for Jefferson.

Suffice it to say, it’s a prime precursor.

Which makes the arrival of “The Life of Chuck,” last year’s People’s Choice winner, all the more of a curiosity. Neon, the indie studio behind best picture winners “Anora” and “Parasite,” bought the film out of Toronto after it won the award, voted on by festivalgoers. With not enough time to craft a marketing or awards season campaign, the studio slotted the movie for the summer of 2025. It opens in limited release today — you can find it in five theaters in the Los Angeles area — and will expand nationwide next week.

“The Life of Chuck,” adapted from a 50-page Stephen King story published in 2020, is feel-good tale about the end of the world. It is indeed about the life of Chuck, a prototypical King everyman, an ordinary accountant we don’t meet until the the second part of the movie’s backward-moving triptych. But we know about him because in the film’s opening section, the one with the world ending and California tumbling into the sea (Steely Dan was right!), Earth’s inhabitants are inundated with baffling billboards and ads featuring a picture of Chuck, thanking him for 39 great years.

We eventually learn that Chuck, played as an adult by Tom Hiddleston, is a remarkable dancer and has lived a life filled with loss. In between the tragedies, there were moments of pure, unadulterated joy. The movie, faithfully adapted and competently directed by Mike Flanagan (the man behind Netflix’s “The Haunting of Hill House” and other horror tales), wants to leave you with the message that such moments are enough. And also to remind you that when these occasions come, we should recognize them and store them away as found gold.

It’s an original story arriving in a summer movie landscape dominated by sequels and retreads. Call it counterprogramming. Critics have been split, which isn’t surprising. You either suspend disbelief and settle into this movie’s vibe or you find yourself unmoved and checking the time, thinking that, in the momentary pleasure department, a root beer float would go down easier. I liked it well enough, but given the choice, I’d probably opt for the ice cream.

For “The Life of Chuck” to be an awards season play, moviegoers will need to fall for it as hard as audiences did at Toronto. That feels like a long shot, though maybe the film’s sweetness and optimism will resonate in the current moment. Times film critic Amy Nicholson was mixed on the movie and yet, as I mentioned at the outset, it did make her “make magic out of the mundane” and boogie with a waiter. She sent me the video. Don’t let her tell you otherwise … she’s a dancing machine.

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Since I’m being a little wistful here, let me call your attention to a recent column I wrote about the late, great Linda Lavin, a singular talent who never won an Emmy.

That may surprise you, particularly if you were around when Lavin headlined the long-running CBS sitcom “Alice,” in which she played a widowed mom working as a waitress while pursuing her dream of singing. The series ran from 1976 to 1985, piling up more than 200 episodes, a spinoff for Polly Holliday (Flo, the “kiss my grits” sass-flinger) and a lasting reputation for presenting an early, understated feminist role model. Alice wasn’t nearly as brash as Bea Arthur’s Maude or quite as lovable as Jean Stapleton’s Edith Bunker, but like her contemporary Mary Tyler Moore, she could turn the world on with her smile.

Lavin, who died in December at 87, did earn two Golden Globes for the role and, after “Alice” ended, she won a Tony Award in 1987 for lead actress in a play for her turn as a Jewish mother navigating a changing world in Neil Simon’s “Broadway Bound.”

“It was one of the greatest stage performances I have ever seen, and I told her that the first day I met her,” says Nathan Lane, who had the opportunity to share his enthusiasm with Lavin when they worked together on the Hulu sitcom “Mid-Century Modern.” Lane recalls watching the play and choking up when Lavin absent-mindedly wiped off a phone receiver — her character was always cleaning — right after a wrenching phone call.

“She could do anything and make it look effortless,” Lane says. “Working with her was the happiest experience I’ve ever had in television.”

(Photo illustration by Susana Sanchez / Los Angeles Times; Getty Images / CBS Photo Archive)

In Emmy history, 33 actors — 22 men and 11 women — have been posthumously nominated. Most recently, Treat Williams earned a nod last year for his supporting turn in the FX limited series “Feud: Capote vs. the Swans.” Ray Liotta was nominated in 2023 in the same category for “Black Bird.” And in 1978, Will Geer received three posthumous nominations, including his last season on “The Waltons.” (He lost all three.)

Lavin has a legitimate case. She elevates “Mid-Century Modern” every time she’s onscreen with her vitality and comic timing. In April, she picked up a comedy supporting actress nod from the Gotham Television Awards.

You can read the entire column, which includes some terrific stories from “Mid-Century Modern” showrunners Max Mutchnick and David Kohan, here.

Have a great weekend. Hope you find a moment to dance.

Read more of Glenn’s Emmys coverage